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The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.
In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that
Double portraits of this type, which were common in the mid-nineteenth century, were generally painted when the son or daughter was presented in society. The mother, depicted as seated, represented an example to the daughter, normally shown standing. In this case the richly furnished room and the sitter`s clothes and jewels indicate the wealthy status of this well-known family of bankers.
This painting has particular documentary interest as it shows the inside of Saint Peter’s transept and chancel before work began on Bernini’s Throne of Saint Peter (1656). The small figures that enliven the canvas are painted with the light and vibrant bambocciantes technique. This is one of this artist’s few known works.
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
This portrait is one of the most beautiful examples of the great actress María Guerrero’s (1867-1928) lifelong obsession with her own image. She began having her portrait painted by the most famous painters of her time while still an infant. This fixation was favored by her father’s friendship with many of those artists, and as a result, the Museo del Prado has several splendid likeness of
Benito Soriano Murillo (1827-1891) was an artist and deputy director of the Museo del Prado. He shared Raimundo de Madrazo and his family’s love of music, referred to by the guitar and piano. The elegant pose, characteristic of the French tradition that Madrazo assimilated in Paris, coexists here with the influence of Spanish portraiture and the style of the artist’s father, Federico de Madrazo.
Carlos Luis de Ribera y Fievé, eldest son of the neoclassical painter, Juan Antonio de Ribera, was also a painter and a friend of Federico de Madrazo, who made this portrait while both lived in Paris. It is the result of an agreement that each would paint the image of the other, and then send the works to the annual painting exhibition at the Academy of Fine Arts of San Fernando in Madrid.
Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize in the 1900 Exposition Universelle Paris, he demonstrated the influence of Velázquez through the use of long, confident brushstrokes. This portrait of María de Figueroa y Bermejillo -the
Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered considerable commercial success for artists such as Jean-Louis-Ernest Meissonier (1815-1891), although the latter’s execution was much more meticulous and drawn. The Orientalist genre was also the ob
Goya breaks with Baroque tradition, interpreting this typified subject according to the new principles of Neoclassicism. The clothing no longer flies around the figure, but instead adapts to the body in a natural manner. This delightful and emotive work is a preparatory sketch for the canvas belonging to the main altarpiece of the church of the College of the Order of Calatrava in Salamanca. It wa
In 1883 Rico received the most significant commissions of his career: two views of Venice for the Marquis of Casa Riera and this panoramic view of Paris for Josefa de Manzanedo e Intentas, II Marchioness of Manzanedo. One of the wealthiest women of her time, she was a very close friend of Ramón de Errazu, who owned a portrait of her by Jean-Louis-Ernest Meissonier (1815-1891). She had also
It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
Condemned for stealing the jewels that hang in front of her, as is made clear by the sign over her head (“a thief ’s death” in Arabic), the iconography of the picture responds more to an erotic fantasy of the 19th-century imagination than to a realist narrative of slavery. Fabrés, one of the leading Spanish orientalists, was influenced by Fortuny, but endowed his work with a dimension of se
This portrait of Jaime Girona, a politician and financier from Barcelona, is of a typology that the artist repeated frequently in portraits of the bourgeoisie in the 1850s, and it is perhaps his work of highest quality. The naturalness of the sitter is remarkable, as is the careful modelling and the delicate precision in the representation of his hands.
The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet po
As in the case of those two paintings (P02755 y P02756), Still Life with Beer-pitcher and Orange belongs to the typology defined by Vroom (1980) as monochrome banketje. Traditionally, this picture has been attributed to Willem Claesz. Heda. However, there are a number of stylistic aspects that distance it from the still lifes painted by this artist in the 1630s. Firstly, the monotone colouring bas
